By David Jasper • The Bulletin

What’s almost as much fun as watching a performance of “The Barber of Seville”?

Hearing the down-time banter between the cast, conductor and director during a rehearsal for Obsidian Opera Company’s production of Rossini’s lighthearted operatic romp.

Case in point: The rehearsal last week at the Tower Theatre, where a newly commissioned English version of the opera opens tonight (see “If You Go”). At the end of the intermission, director Brenda Nuckton called out, “Maestro to the pit, please,” referring to conductor Michael Gesme — who was seated directly in front of her. “Somebody find the maestro and get him down there!”

“I’ll be in the back drinking my Schlitz,” Gesme zinged back as he hustled to his stool in front of the stage.

A moment earlier, he had been talking about how much fun he’s been having during the last couple of weeks of rehearsals, watching the cast build rapport. The fun continued during the rehearsal performance — visible in Gesme’s smile and laughter even as he conducted music director Jean Shrader, seated at a piano on stage.

For full performances, Gesme will conduct the Obsidian Opera Orchestra, and the Opera Chorus will be on hand as well.

The music is by Gioacchino Rossini; the original libretto by Cesare Sterbini (based on the play by, say it with us now, Pierre Augustin Caron de Beaumarchais) has seen an infusion of new zest thanks to a 2007 English adaptation by Quade Winter, a professional opera singer turned composer, arranger and, yes, opera translator.

Act 1 opens with Count Almaviva, played by Jason Stein, serenading Rosina (Sarah Mattox), or at least her window. An oppressed shut-in, Rosina lives with her guardian, Doctor Bartolo (Stacey Murdock), who can’t wait to marry her and get his grubby mitts on the 16-year-old’s considerable inheritance as soon as she turns 18.

Allowed a brief respite from oppression, she drops a note to Almaviva from her balcony that sings of hope: “Dear strange man, Help, I am being held prisoner by an old poop. Save me. Ha ha ha. Love Rosina P.S. You’re cute.”

Count Almaviva enlists the help of Figaro (Erik Hundtoft), the household barber — not to mention coiffeur, surgeon, herbalist, veterinarian (sometimes) and “king of backstairs gossip” — to land the girl of his dreams.

In classic screwball style, Almaviva disguises himself — as Lindoro, a poor student — so Rosina will not fall in love with him for merely being a rich count. Or, as he puts it, “If you seek only title or treasure, then Lindoro is poor beyond measure.”

The ever-suspicious Doctor Bartolo is nobody’s fool; he’s 100 percent his own fool. He catches on to Rosina’s misbehavior, thanks to Don Basilio (Clyde Thompson), Rosina’s music master and Bartolo’s “master of intrigue,” according to translator Winter.

Act 2 is even more complicated, but suffice it to say, this is a tale where everyone gets what they deserve.

The performance features many strange situations, a fast pace and colorful costumes. If you doubt the comic possibilities of an opera set in 18th century Spain, when’s the last time you saw grown men in pants that look for all the world like capris? The costumes have everything for the fashion-backward thinker, including puffy-shouldered dresses, buckle shoes, wigs, vests and capes.

The production features a two-story set by Dee Torrey, Cascades Theatrical Company executive and artistic director. His wife, Monica Torrey, stars as Berta, a household servant.

According to mezzo-soprano Mattox, who brings a gorgeous voice and energetic bounce befitting teenage Rosina, “The Barber of Seville” is widely known, even to children, thanks to the Bugs Bunny cartoon “Rabbit of Seville.”

The mezzo-soprano was born and raised in Bend, where she attended Mountain View High School, and her talents have been seen on stages including Carnegie Hall, where she debuted last year (she’s been invited back, but a scheduling conflict made a return impossible — at least for now). Hundtoft (Figaro) and Murdock (Bartolo) are visiting from Portland, where the two singers have appeared on stage together before.

But of course, the opera is also known for a few other reasons, including “Largo Al Factotum,” the aria famed for the rapid-fire boasting of Figaro, household barber and general man about Seville. You wouldn’t be able to sing along — nor should you in a crowded opera house — but you’ll recognize the tune immediately.

The production runs three hours, including intermission, but it’s a funny three hours. According to Stein, who plays Almaviva, “a couple of things mistakenly prevent regular folk from even starting to appreciate opera. One is the language barrier, which there is none here.

“The second is that a lot of people think opera is simply tragedy — Shakespeare and what have you. And that couldn’t be further from the truth here. It’s slapstick comedy.”

If you like romantic comedies, “it’s the story that’s told in romantic comedies,” adds Mattox. “It’s gonna be a great show. It’s funny and popular; lots of good music and comedy.

“You want a laugh? Come to the show. And let yourself laugh. It’s opera; it’s not stuffy. Just let yourself laugh.”

IF YOU GO

What: “The Barber of Seville”

When: 7:30 p.m. tonight and Wednesday and 2 p.m. Sunday; additional performances at 7:30 p.m. Feb. 1 and 2 p.m. Feb. 2

Where: Tower Theatre, 835 N.W. Wall St., Bend

Cost: $25-$45 at the Tower Theatre box office, open from 10:30 a.m. to 4:30 p.m. Monday through Friday

Contact: www.towertheatre.org or 317-0700